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ATaylor Swiftalbum is just not a collection of new music, its an exploration of a theme.
Each album propels fans to find covert lyrical connections to her personal life and Easter eggs to past compositions.
Read their conversation below and listen to the whole episode wherever you get your podcasts.
All these retro-synth sounds are supported by down-tempo dance rhythms like we heard on Lavender Haze.
If theres one through-line on this record, its the bass sound.
Do you know what thats called?
Nate Sloan:Its called … a sludge thunder bass?
Its called a Reese bass.
It was first created by Kevin Reese Saunderson in 1988 for his track Just Want Another Chance.
However, Saunderson wasnt really recognized for it.
From there, it became a sort of quintessential element of the jungle and drum-and-bass sound.
you’re free to also notably hear it in Burials Archangel.
CH:That Reese bass has become a mainstay in pop music.
Its not unusual to hear that particular bass sound, but it is all overMidnights, from Question …?
to Anti-Hero to Karma and everything in between.
For me, it connects the world ofMidnightsto the dance genres that originated this sound.
It makes these songs feel like late-night club tracks, even though many of the beats are down-tempo.
Can I throw out a perhaps obtuse analogy here?
CH:Of course.
NS:I think Reese bass is sort of equivalent to thesandwormsinDune.
Its under the surface; you almost dont really hear it clearly, you only see the sand moving.
You only get a sort of hint of what that creature that sound might look like.
Its always a little bit out of reach.
Maybe its something about the way its filtered or side-chained …
But something about it is untouchable; its unreachable.
CH:Its subterranean.
NS:The bass is sort of there but also not.
This excerpt has been edited and condensed.
